W in T E R /S Pr in G S E a S O N Mar 2 0

MAR 2019MAR WINTER/SPRING SEASON WINTER/SPRING

Season Sponsor: Farah Al Qasimi, Self-Portrait in Red, 2016 2019 Winter/Spring Season

Brooklyn Academy of Music

Adam E. Max, Katy Clark, BAM Board Chair President

William I. Campbell and Nora Ann Wallace David Binder, BAM Board Vice Chairs Artistic Director Rameau, maître à danser

By Jean-Philippe Rameau Les Arts Florissants

BAM Howard Gilman Opera House Mar 1 & 2 at 7:30pm; Mar 3 at 3pm

Running time: approx. one hour and 55 minutes, including intermission

Musical direction by William Christie

Staging by Sophie Daneman Choreography by Françoise Denieau Restaging of choreography by Gilles Poirier Costume design by Alain Blanchot Lighting and set design by Christophe Naillet

2019 Winter/Spring is programmed by Joseph V. Melillo.

Season Sponsor:

Leadership support for opera at BAM provided by Aashish & Dinyar Devitre, and The Andrew W. Mellon Foundation

Major support for opera at BAM provided by Sarah Billinghurst & Howard Solomon

Major support for Rameau, maître à danser provided by Anne H. Bass

Support preserving the vitality of BAM programming provided by the Lichtenstein family and generous donors to the BAM Harvey Fund

Support for the Signature Artists Series provided by the Howard Gilman Foundation Rameau, maître à danser

Jean-Philippe Rameau Jean-Philippe Rameau Daphnis et Églé La Naissance d’Osiris Heroic pastoral based on a libretto Ballet based on a libretto by Charles Collé, 1753 by Louis de Cahusac, 1754

Élodie Fonnard Eglé Magali Léger Pamilie Reinoud Van Mechelen Daphnis Sean Clayton Un berger Magali Léger Amour Cyril Costanzo Le grand prêtre de Jupiter Cyril Costanzo Grand prêtre François Lis Jupiter

Rameau, maître à danser comprises two “actes de ballet” by Jean-Philippe Rameau: Daphnis et Églé and La Naissance d’Osiris. These intimate and rarely staged works were composed for the “grand spectacles” danced at the court of Louis XV. Based on a libretto by Cahusac, La Naissance d’Osiris was commissioned to celebrate the birth of the Duke of Berry, the future Louis XVI; Rameau went on to use passages in his “tragédie lyrique” Zoroastre. Originally destined to liven up hunting parties at Fontainebleau, Daphnis et Églé is also proof—beneath its slight, yet utterly charming scenario—of Rameau’s artistic genius.

Thanks to a semi-staging which captures the spirit of the “théâtre de la foire” (fair theater) centered around a rural community, highlighting the idea of the pastoral idyll so beloved in France’s Age of Enlightenment, and the delicious choreography of the late Françoise Denieau, this production has achieved enormous public and critical success since it was first performed in France in 2014. This revival is given in memory of Françoise Denieau, choreographer of this production.

Production: Théâtre de Caen. Co-production: Les Arts Florissants (with the support of the Selz Foundation), Centre de Musique Baroque de Versailles. Executive Production of the revival: Les Arts Florissants with the support of Le Bureau Export.

CHOIR ORCHESTRA Oboe Soprano Violin Pier Luigi Fabretti Maud Gnidzaz Emmanuel Resche Astrid Knöchlein Virginie Thomas Bernadette Charbonnier Bassoon High Tenor Myriam Gevers Niels Coppalle Renaud Tripathi Patrick Oliva Amélie Boulas Sébastian Monti Catherine Girard Percussion Tenor Sophie Gevers-Demoures Marie-Ange Petit Benjamin Alunni Michèle Sauvé Musette Jean-Yves Ravoux Augusta Mckay Lodge François Lazarevitch Matthieu Peyregne Viola Basso Continuo Bass Galina Zinchenko Cello Laurent Collobert Kayo Saito David Simpson Christophe Gautier Jean-Luc Thonnerieux Doublebass Julien Neyer Cello Jonathan Cable Elena Andreyev Harpsichord DANCERS Alix Verzier Béatrice Martin Romain Arreghini Cyril Poulet Bruno Benne Flute Andrea Miltnerova Serge Saitta Artur Zakirov Olivier Riehl Robert Le Nuz Anne Sophie Berring Photo by Phillippe Delval Who’s Who

SYNOPSES Daphnis et Églé La naissance d’Osiris Daphnis and Églé consider themselves Outside the Temple of Jupiter in Egyptian friends rather than lovers. Meeting in front Thebes, shepherds and townspeople sing of the Temple of Friendship, they plan to in praise of Cupid, while waiting for an swear an eternal friendship that will ensure unspecified event that will complete their their happiness. A group of shepherds happiness. Pamilie and a companion praise the god of Friendship, and the High extol love and constancy, and shepherds Priest of the temple warns them against bring gifts into the temple. At the sound of the unhappiness that Cupid brings. Just thunder, the people scatter. But the High as Daphnis and Églé are about to enter Priest calms their fears and announces the temple to perform their vow, thunder the god’s imminent appearance. Jupiter, is heard. The High Priest, divining the true accompanied by Cupid and the Graces, nature of their feelings, rebukes the couple descends in splendor and announces to and banishes them from the temple. Upset the Egyptians the birth of the god Osiris— and confused, Daphnis and Églé exchange the hero for whom they have longed. The tender reproaches but remain unaware of people celebrate the news. Jupiter ascends the increasingly amorous nature of their into the heavens, leaving behind Cupid sentiments. Cupid descends and explains and the Graces, who join in the general that it is love rather than friendship that celebrations. they feel. As the Pleasures and Sports enter and the Temple of Friendship is transformed © Graham Sadler into the Temple of Love, Cupid points out the moral: Love hides beneath a veil of friendship, and all friends are lovers when close to the object they adore.

Les Arts Florissants receives financial support from the Ministry of Culture and Communication, the Département de la Vendée and the Région Pays de la Loire. The ensemble has been in residence at the Philharmonie de Paris since 2015 and has obtained the French national label “Centre Culturel de Rencontre”.. The Selz Foundation, American Friends of Les Arts Florissants, and Crédit Agricole Corporate & Investment Bank are Principal Sponsors. In 2019, Les Arts Florissants celebrates its 40th anniversary! Rameau, maître à danser

WILLIAM CHRISTIE (musical director), harpsi- by the Franco-American harpsichordist and chordist, conductor, musicologist, and teacher, conductor William Christie, the ensemble, named is a pioneer in the rediscovery and introduction after a short opera by Marc-Antoine Charpentier, of French Baroque music to a wide audience. has played a pioneering role in the revival of a Born in Buffalo, NY and educated at Harvard Baroque repertoire that had long been neglected and Yale, the turning point in his career came in (including the rediscovery of countless treasures 1979 when he founded Les Arts Florissants. As in the collections of the Bibliothèque Nationale director of this vocal and instrumental ensemble, de France). Today that repertoire is widely per- major public recognition came in 1987 with the formed and admired: not only French music from production of Lully’s Atys at the Opéra Comique the reign of Louis XIV, but also more generally in Paris (the production’s US debut was present- European music of the 17th and 18th centuries. ed at BAM in 1989; its revival was presented The ensemble is directed by William Christie at BAM in Sep 2011), followed by many other who, since 2007, has regularly passed the con- successes in the French and European Baroque ductor’s baton over to British tenor Paul Agnew. repertoire. Notable among his recent operatic Since the 1987 production of Lully’s Atys at the work are: Campra’s Les Fêtes vénitiennes in Opéra Comique in Paris, which was triumphantly 2015 at the Paris Opéra Comique and at BAM; revived in 2011, Les Arts Florissants has enjoyed Theodora in 2016 at the Théâtre des Champs- its greatest successes on the opera stage. Les Elysées; in 2018, Handel’s Jephtha at the Arts Florissants enjoys an equally high profile Opéra national de Paris, Ariodante at the Wiener in the concert hall, as illustrated by its many Staatsoper, L’Incoronazione di Poppea at the acclaimed concert or semi-staged performances Salzburg Festival, and John Gay’s The Beggar’s of operas and oratorios. Each season Les Arts Opera on European tour. As a guest conductor Florissants gives around 100 concerts and opera Christie often appears at opera festivals including performances in France—at the Philharmonie Glyndebourne (Giulio Cesare in 2018) and opera de Paris, where they are artists in residence, houses such as the Metropolitan Opera and the Théâtre de Caen, Opéra Comique, Théâtre Zurich Opernhaus. His extensive discography des Champs-Élysées, Château de Versailles, as includes more than 100 recordings. The most well as at numerous festivals—and are an active recent, Un jardin à l’italienne, Bien que l’amour, ambassador for French culture abroad, regularly and Bach’s B Minor Mass were released by invited to New York, London, Brussels, Vienna, harmonia mundi in the collection, “Les Arts Madrid, Barcelona, Moscow, and elsewhere. Florissants.” Wishing to further develop his work The group has performed at BAM numerous as a teacher, in 2002 Christie created with Les times; its most recent presentations are Les Fêtes Arts Florissants a biennial academy for young vénitiennes (2016), and Atys and Le Jardin singers, Le Jardin des Voix. Since 2007 he has de Monsieur Lully (2011). The ensemble has been artist in residence at The Juilliard School produced an impressive discography: nearly 100 in New York. In 2012, he launched the festival recordings (CD and DVD) and its own collection Dans les Jardins de William Christie in his own in collaboration with harmonia mundi, under gardens, located in the French village of Thiré the baton of William Christie and Paul Agnew. In in the Vendée. Christie has bequeathed his real recent years, Les Arts Florissants has launched estate assets to the Foundation Les Arts Floris- several education programs for young musicians. sants–William Christie, created in 2017. The most emblematic is the Academy of Le Jardin des Voix; created in 2002, it is held every LES ARTS FLORISSANTS two years and has brought a substantial number William Christie, Musical Director, Founder of new singers into the limelight. The Arts Flo Paul Agnew, Associate Musical Director Juniors program, launched in 2007, enables An ensemble of singers and instrumentalists conservatory students to join the orchestra and specializing in the performance of Baroque chorus for the length of a production, from the music on period instruments, Les Arts Florissants first day of rehearsals up to the final perfor- is renowned the world over. Founded in 1979 mance. The partnership between William Chris- Who’s Who

tie, Les Arts Florissants, and New York’s Juilliard Barcelona Symphony Orchestra), Her discog- School has since 2007 allowed a fruitful artistic raphy includes Rodelinda, Theodora, Acis and exchange between the US and France. Les Arts Galatea, Ottone, and three volumes of Mendels- Florissants also organizes numerous events sohn lieder. For EMI she has recorded Schumann aimed at building new audiences at the Philhar- lieder and Noel Coward songs; recordings with monie de Paris, in the Vendée, in France and all Les Arts Florissants include Grands Motets and around the world. Linked to each year’s concert Les Fêtes d’Hébé, and she recently recorded program, they are designed for both amateur mu- Masque of Moments (Linn Records). Daneman sicians and non-musicians, adults as much as directs the double bill of La naissance d’Osiris children. In 2012, William Christie and Les Arts and Daphnis et Églé for Les Arts Florissants, Florissants created the festival Dans les Jardins with performances in Caen, Luxembourg, Dijon, de William Christie, in partnership with the London, and Paris. Conseil départemental de la Vendée. An annual event, the festival brings together artists from Les GILLES POIRIER (choreography restaging), after Arts Florissants, pupils from The Juilliard School, studying dance at the Conservatoire National and finalists from Le Jardin des Voix for concerts Supérieur de Musique et de Danse de Lyon, and promenades musicales in the gardens creat- debuted in 1992 with the company Ris et Dan- ed by Christie at Thiré, in the Vendée. In addition ceries under the direction of Francine Lancelot in to the festival, Les Arts Florissants is working to the production Zarandanzas, and at Théâtre Ba- establish a permanent cultural venue in Thiré. roque de France under the direction of Philippe This anchorage strengthened in 2017 through Beaussant. From 1994 to 2004, he was a solo- some noteworthy events: the settlement of Le ist with the Baroque dance company L’ Eventail Jardin des Voix in Thiré, the creation of a Spring under the direction of Marie-Geneviève Massé, Festival (Festival de Printemps) directed by Paul where he participated in 10 productions that Agnew, a new annual event at the Fontevraud toured internationally. From 2005 to 2013, he Abbey, and the reward of the national title “Cen- appeared as guest dancer in various operas with tre culturel de Rencontre” for Les Arts Florissants choreographers Ana Yepes, Françoise Denieau, and Les Jardins de William Christie—an award Natalie Van Parys, Lucy Graham, and Jean Guiz- which distinguishes projects associating creation, erix. In 2014, Poirier became assistant to the patrimony, and transmission. In 2018 Fondation choreographer Françoise Denieau at Théâtre du Les Arts Florissants – William Christie was creat- Capitole de Toulouse (France), Opéra du Grand ed. William Christie gifted his entire Thiré estate Avignon, Théâtre de Caen, Festival du Périgord to the Foundation. arts-florissants.com Noir, and the Centre de Musique Baroque de Versailles. He currently teaches classical ballet at SOPHIE DANEMAN (staging) studied at the the Conservatoires de la ville de Paris. Guildhall School of Music and has established an international reputation in a wide-ranging rep- ALAIN BLANCHOT (costume design) studied ertoire. Her passion and affinity for the Baroque art history and fashion design at Cours Berçot, repertoire has led to her collaborate with many of and first worked in cinema and advertising the leading specialists in the field, in particular before designing stage costumes for singers such William Christie and Les Arts Florissants. An ac- as Brigitte Fontaine, Sapho, Anna Karina, and complished recitalist, Daneman has appeared at Ingrid Caven. In 2004, he began collaborating many of the world’s major recital venues, includ- with stage director Benjamin Lazar, for whom he ing Wigmore Hall, Concertgebouw, Amsterdam, created costumes for numerous operas: Le Bour- Musikverein Vienna, and Carnegie Hall. Operatic geois Gentilhomme (Monière/Lully), Il Sant’Ales- engagements include the title role in Rodelinda sio (Landi) with Les Arts Florissants and William (Onafhankelijk Toneel), Arianna, Cleopatra (Gi- Christie, and Cadmus et Hermione (Lully). He ulio Cesare) and Dalila (Samson; Göttingen Han- regularly worked on Baroque opera productions, del Festival), and Mélisande (Opéra Comique). as well as for contemporary and classical operas She has sung Servilia (La Clemenza di Tito; in France and abroad, with stage directors such Who’s Who

as Louise Moaty, David Bobee, Ivan Grinberg, of William Christie’s Le Jardin des Voix in 2011, Robert Carsen, and more, while pursuing a she is a regular collaborator with Les Arts Floris- career in theater. In 2010, he created costumes sants (Flore in Atys, Belinda in Dido & Aeneas, for Maison Guerlain. His costumes have been Galatea in Acis & Galatea, Les Fêtes Véniti- exhibited at the Centre National du Costume ennes). With them, she performs in venues such de Scène in various shows, notably on Les Arts as the Philharmonie de Paris, Opéra Comique, Florissants, the Arabian Nights, fairy tales, and Festival d’Aix-en-Provence, Bolshoi in Moscow, the history of the Paris Opéra Comique. His fu- Lincoln Center, Walt Disney Hall in Los Angeles, ture projects include a production of The War of and Forbidden City Hall in Beijing. Recent Roses (Warren Adler), Arlequin serviteur de deux highlights include the title role in Orphée & Eu- maîtres (Goldoni) at the Avignon Festival, and a rydice at Opéra de Dijon, Diane in Actéon in Los new opera production in Germany. Angeles, La Musica & Euridice in Orfeo with Les Timbres, Eurydice in La descente d’Orphée aux CHRISTOPHE NAILLET (lighting design) has Enfers with Correspondances (Sébastien Daucé), created lighting for composer Nicolas Frize and and recitals with Les Musiciens de Saint-Julien choreographer Didier Théron, as well as for the (François Lazarevitch), Les Folies Françoises Festival d’Île-de-France, theater company La (Patrick Cohën-Akenine), and La Simphonie du Mandragore, and Théâtre Jean Vilar in Montpel- Marais (Hugo Reyne). Fonnard contributed to lier. He is a frequent collaborator of stage director various recordings. Her latest one, the Brossard Benjamin Lazar: La Vita Humana, Didon et & Bouteiller’s Motets with Les Arts Florissants Enée, Le Bourgeois gentilhomme (Molière and and Paul Agnew, was released in 2018. Lully, 2005), Il Sant’Alessio (Landi) with Les Arts Florissants in 2007, Cadmus et Hermi- MAGALI LÉGER one (Lully) in 2009, Les Amours tragiques de (soprano; Amour/ Pyrame et Thisbé (Théophile de Viau) in 2009, Pamilie) began her and Cendrillon (Massenet) in 2011. He has vocal studies with also worked with the ensemble Les Cris de Paris C. Eda-Pierre before on the productions LALALA, Memento Mori, entering the Paris Tout est Vanité, Egisto (Cavalli), Cachavaz, and Conservatoire, where Ricardo primo. With stage director Louise Moaty, she also worked with he contributed to the productions of Rinaldo C. Patard. Her career (Handel), Vénus et Adonis (John Blow), L’Em- began in 1999 with pereur d’Atlantis, and La Lanterne Magique. He the role of Philine is a regular collaborator with Les Arts Floris- (Mignon) at Opéra de sants, for whom he designed the lighting of the Nantes. The next year she played Curly’s Wife in productions Rameau, maître à danser in 2014 the European production of Of Mice and Men. and Orfeo (Monteverdi) directed by Paul Agnew Since then she has worked with many leading in 2017. conductors and ensembles. Highlights in the opera house have included Blonde (Die Entführung ÉLODIE FONNARD aus dem Serail) under Marc Minkowski; Coraline (soprano; Eglé) (Le toréador) at the Opéra Comique; Sophie studied singing at the (Werther) at Bologna’s Teatro Comunale; Adina Conservatoire de Caen (L’elisir d’amore); Minka (Le roi malgré lui) at with L. Coadou. She Lyon Opéra; Ilia (Idomeneo) under Jérémie Rhor- made her professional er at the Beaune Festival; and Nadia (The Merry debut with Le Concert Widow) at Lyon Opéra. More recently, in Vienna, d’Astrée (Emmanuelle she sang Crobyle (Thaïs) and Princesse Laoula Haim) and Le Poème (L’étoile at Luxembourg’s Grand Théatre). In con- Harmonique (Vincent cert, she has appeared with leading ensembles, Dumestre). A laureate including the English Concert and Kenneth Weiss Who’s Who

and Les Paladins. Recent operatic highlights the title role in Rameau’s Pygmalion at Dijon have included Leïla (Les pêcheurs de perles) and Opera. The 2018—19 season highlights include Thérèse (Les mamelles de Tirésias) at the Feld- debuts at Théâtre royal de la Monnaie (Tamino, kirch Festival in Austria; Léonore (L’amant jaloux) Die Zauberflöte) and at the Staatsoper Berlin at Opéra Royal de Versailles and Opéra Comique; (Hippolyte, Hippolyte et Aricie). Van Mechelen’s and in Toulouse, Gabrielle (La vie parisienne). CD- and DVD-productions include his first solo Léger’s discography includes Fauré’s La bonne CD, Erbame Dich (arias by Bach) released by chanson and discs of Handel and Pergolesi with Alpha Classics in 2016. His second solo CD, her Baroque ensemble RosaSolis. Clérambault, cantates françaises (Alpha Clas- sics) was released in 2018 to acclaim. REINOUD VAN MECHELEN (tenor; SEAN CLAYTON (ten- Daphnis) graduated in or; Un berger) trained vocal studies from the at the Birmingham Conservatoire Royal in Conservatoire with J. Brussels (2012, class Pike and continued of D. Grossberger). In studies at the Royal 2017 he was award- ed the Caecilia Prize College of Music in as Young Musician of London with N. the Year. In 2007 he Mackie. A versatile performed at Europe- tenor equally at an Baroque Academy in Ambronay (France). In home on both the 2011 he was a member of Jardin des Voix and opera stage and in became a soloist with Les Arts Florissants. He concert, Clayton has performed all over the world guested with the ensemble at Festival d’Aix- including at Opéra Garnier, Opéra Comique and en-Provence, Edinburgh Festival, Château de Théâtre des Champs-Elysées in Paris, Festival Versailles, Bolshoi Theatre, Royal Albert Hall and d’Aix-en-Provence, Opera National de Bordeaux, the Barbican Centre (London), Palais des Beaux- Bolshoi Theatre in Moscow, Mariinsky Theatre in Arts (Brussels), the Philharmonie and Opéra St. Petersburg, BAM and Lincoln Center in New Comique (Paris), and BAM (New York). Many York, Radialsystem V in Berlin, Royal Albert Hall renowned Baroque ensembles such as Collegium and the Barbican in London, Auditorio Nacional Vocale, Les Talens Lyriques, Pygmalion, L’Arpeg- de Música in Madrid, Palau de la Música in giata, B’Rock, Ricercar Consort, and Hespèrion Barcelona, Mozarteum in Salzburg, National XXI have engaged him.In recent seasons, he Concert Hall in Dublin, and Wexford Festival performed the title roles in Dardanus (Opéra Opera. In 2009, Clayton was invited to be part national de Bordeaux) and Zoroastre (concert tour to Festival de Montpellier and Radio-France, of Le Jardin des Voix, the young artists program Festival d’Aix-en-Provence, Festival de Beaune, of Les Arts Florissants directed by William Chris- Théâtre Royal in Versailles, and Theater an der tie. Since then he has sung several roles and for Wien). In 2016—17 he made his Zurich Opera numerous choral projects, including music of debut as Jason in Médée conducted by William Scarlatti and Charpentier. Since 2011, he has Christie. He added concert roles: Belmonte been a part of Les Arts Florissants’ Monteverdi (The Abduction from the Seraglio; Orchestre de Madrigal project directed by Paul Agnew, per- Chambre de Paris) and Gérald (Lakmé; Munich forming the eight books all over Europe. Clayton Radio Orchestra). Besides performances with has sung for many other ensembles including his own ensemble, a nocte temporis, he took Le Poème Harmonique with Vincent Dumestre, part in 2017—18 in a celebration of the 30th Ensemble Correspondances with Sébastien anniversary of the Concert Spirituel (Un opéra Daucé, and Accentus with Laurence Equilbey. imaginaire) and concert tours with Les Arts He is also a member of Ensemble Perspectives, Florissants (Actéon, US; Selva Morale, Paris, a five-member vocal group that explores the Versailles, Caen, Berlin, London). He performed Who’s Who

diversity of a cappella repertoire, from Tallis to (dir. Paul Agnew). He has also taken part in the the Beatles via Ligeti and Ellington. Recent opera stage productions of Monsieur de Pourceaugnac engagements include: Shepherd in Orfeo with (Lully/Molière) conducted by Christie between Les Arts Florissants directed by Paul Agnew; 2016 and 2018, and of Monteverdi’s Orfeo Don Carlos/Tacmas in Les Indes Galantes with directed by Agnew in 2017—18. Il Giardino d’Amore/Stefan Plewniak (Bydgo- szcz Opera Festival, Lutosławski Concert Studio FRANÇOIS LIS (bass; Warsaw); Messenger in Theodora (Théâtre des Jupiter) earned a Champs-Élysées, Paris); Démocrite in Les Fêtes bachelor in musicol- Vénitiennes (Opéra Comique, Paris); Berger in La ogy from Sorbonne Naissance d’Osiris (Théâtre de Caen). University and studied at Conservatoire National Supérieur CYRIL COSTANZO de Musique de Paris (bass; Grand prêtre/Le (2003), the Mozarte- grand prêtre de Jupi- um (Salzburg), and ter) trained at Toulon the Merola program Conservatoire Régional (San Francisco Op- with L. Coadou, era). Performances include King Arthur, Poppea, studying technique Les Boréades, Bâle, Platée, Colline, and La with G. Laurens, U. Bohème. Lis has sung in la Cenerentola (la Reinemann, Y. Minton, Monnaie), Les Troyens (l’Opera du Rhin), Zuniga and M. Duthoit, and (Theatre du Capitole de Toulouse, Théâtre du studied Baroque music Chatelet Paris), Escamillio (Skopje Festival), La at the Académie de Pietra del Paragone (Théâtre du Chatelet), Don musique ancienne at the Festival du Périgord Giovanni (Opera Fuoco), and more. He made Noir with M. Laplénie. An experienced ensemble his debut in the title role in le Nozze di Figaro musician, he sings as bass soloist in the vocal with William Christie at Opéra de Lyon, which ensemble Les Voix Animées under the baton of he reprised at Dublin Opera. He sang Hippolyte et Aricie (Capitole de Toulouse), Platée (Opéra Luc Coadou with whom he sings all kinds of national du Rhin), Dardanus (Lille), and Don repertoire, from Renaissance to contemporary. Giovanni (Théâtre des Champs Elysées). In 2011 In 2013, Costanzo was selected to participate he debuted in the role of Marcel in Les Hugue- in the sixth Jardin des Voix, the academy for nots at la Monnaie. In 2012—13, he participat- young singers of Les Arts Florissants, with whom ed in Fénelon’s JJR, Citoyen de Genève, debuted he went on an international tour (New York, at Glyndebourne Festival in Hippolyte et Aricie, Amsterdam, Madrid, Paris) under the direction of and at the Hollywood Bowl as Zuniga in Carmen William Christie and Paul Agnew. He has since (Caracas; la Scala). At Opéra de Paris, produc- become a regular collaborator with the ensemble, tions include Alcina, Platée, Aridane auf Naxos, for various concert programs: the Sixth Book and la Traviata, la Forza del Destino, and L’enfant et Eighth Book of Monteverdi madrigals (dir. Paul les Sortilèges. In 2018—19 Lis returns to the Agnew); Rameau and Mondonville’s Motets solos Dutch Opera in Oedipe and to Paris for Carmen. (dir. William Christie); Bach’s Motets (dir. Paul He sings Don Basilio (Il Barbiere di Siviglia) in Agnew), Monteverdi’s Selva Morale e Spirituale Bordeaux and the roles of Osman and Ali (Les (dir. William Christie); and A Christmas Night Indes Galantes) at the Grand Théâtre de Génève. WORKING IN CONCERT KAUFMAN ELLIOTT PHOTO: IS WHAT WE DO. Fly toward something better with the help of 80,000 Delta employees who do everything they can to help you explore what’s possible. Mar 2019

Contents

Diary of One Who Disappeared Merce Cunningham

Photo: Jan Versweyveld By Steven Jude Tietjen On the Reluctant Muse: Kamila Stösslová and Merce Cunningham in Walkaround Time, 1970. Photo: James Klosty Janá ek’s Diary of One Who Disappeared č Night of 100 Solos celebrates the centennial of Merce Cunningham’s birth. A look back at some of Film—Claire Denis the company’s many highlights at BAM. By Shelley Farmer A series of 12 films by Claire Denis shows the delicate balance of contradictions in her oeuvre.

BAMbill Cover

Farah Al Qasimi (b. Abu Dhabi, 1991) is an artist working in photography, video, sound, and performance. Al Qasimi received an MFA in photography from the Yale School of Art in 2017, and recently completed residencies at the Skowhegan School of Painting and Sculpture in Maine and at the Delfina Foundation in London. She is the recipient of the 2018 NADA New York Artadia Award and the 2018 Individual Photographer’s Fellow- ship from the Aaron Siskind Foundation, and currently teaches at the Rhode Island School of Design and at Pratt Institute. Upcoming exhibitions include solo presentations at the Jameel Arts Centre and at The Third Line, both in Dubai.

Farah Al Qasimi Self-Portrait in Red, 2016 Archival Inket Print 34.25 x 27.17 inches Courtesy of the artist and Helena Anrather, New York @BAM_Brooklyn Diary of One Who Disappeared Reluctant Muse

by Steven Jude Tietjen

Photo: Jan Versweyveld

The Reluctant Muse: Kamila Stösslová and quiet power as Janáček’s reluctant muse. Janáček’s Diary of One Who Disappeared Immediately after meeting Stösslová, Janáček initiated a correspondence with her that would “I am only writing to you because of the last until the end of his life 11 years later. memories of the most beautiful day in Janáček would immortalize Stösslová, or his Luhačovice in 1917. I have nothing but idealized image of her, in nearly every work memories now—well, I live in those,” wrote Leoš he wrote after 1917. She is encoded in the Janáček, one of the 20th century’s most original melodies of his final string quartet, “Intimate composers, to Kamila Stösslová in September Letters,” and was the model for the leading 1918. Janáček had become transfixed by soprano roles in three of his four final operas: Stösslová the previous summer when they were Kat’a Kabanova, The Cunning Little Vixen, and both staying at Luhačovice, a resort town in the The Makropulos Case. In Diary of One Who Moravia region of present-day Czechia. Janáček Disappeared, he transformed her into Zefka, the had just turned 63 years old and was unhappy object of obsession and symbol of liberation. in his marriage, while Stösslová was a happily married 26-year old mother of two. For Janáček, Janáček began composing Diary of One Who who had recently achieved long-awaited success Disappeared, a song cycle for tenor, alto, three with his opera Jenůfa, the encounter reignited female voices, and piano, a month after meeting his creative flame. Stösslová. The work is a setting of 22 poems that appeared in Brno’s daily newspaper Lidové Diary of One Who Disappeared, a one-sided noviny in May 1916. Presented as excerpts account of yearning and escape, was the first of from the diary of a local boy, Janíček, who fell several works fueled by Janáček’s infatuation in love and ran away with a Romani girl, Zefka, with Stösslová. Ivo van Hove’s staging of Diary the poems were later revealed to be the work of of One Who Disappeared, in collaboration with Czech poet Ozef Kalda. Muziektheater Transparant and with additional music by Annelies Van Parys, reimagines the The connection between Stösslová and Zefka song cycle by giving a stronger voice to the is emphasized in letters Janáček wrote to her Romani girl Zefka and emphasizing Stösslová’s while he was composing the cycle. He frequently @BAM_Brooklyn Diary of One Who Disappeared referred to Stösslová’s “Gypsy-like” features—her Van Parys weave into Janáček’s score five poems dark complexion, dark hair, and dark eyes—and by Romani women from around the time of the often called her his “Gypsy girl.” (Stösslová work’s composition, giving Zefka a stronger voice was not Romani, but a Czech Jew.) In Diary of and restoring her agency in her own love story. One Who Disappeared, Janaček saw his own desires reflected in the local boy’s love for an In the last years of their correspondence, unattainable woman. He yearned to be freed Stösslová asked Janáček to burn some of her from the “bitter fate” of his unhappy marriage letters after reading them, deliberately muting and middle class banality. Kamila was his Zefka, her own voice in the story of Janáček’s life. who might one day help him escape his fate. Nonetheless, Janáček’s memory of their first meeting in Luhačovice blazed strong until Stösslová was a blank slate upon which Janáček his death, and he acknowledged his debt to could project his fantasy. The 700 letters Stösslová by bequeathing her the royalties from Janáček wrote her, when compared to the 49 four of his works, including Diary of One Who she wrote him, reveal more about his obsession Disappeared. In the song cycle, Janíček escapes than they reveal about Stösslová’s reticence. He fate by running away with Zefka; in reality, would sometimes write her multiple letters in a Janáček escaped by living in memories and day, suggesting that the letters were more like composing fantasies. In his music, he created Janáček’s diary than a true correspondence. distorted reflections of Stösslová as the woman he wanted her to be, and not as the woman she Just as Stösslová’s voice is often silent in her truly was. correspondence with Janáček, Zefka is a minor character in Diary of One Who Disappeared. Steven Jude Tietjen is a New York City-based In the original text, her words are heard only writer specializing in opera and classical music. through Janíček’s recollections. Janáček set He has written for Opera News, Opera America, Zefka’s words for an alto soloist, but she still Edible Manhattan, and for opera companies appears as a distant, almost otherworldly, voice. nationwide. For this production, dramaturg Krystian Lada and © 2019 Brooklyn Academy of Music, Inc. All rights reserved. Photo: Jan Versweyveld BAM

Salutes @BAM_Brooklyn Claire Denis

By Shelley Farmer Denis’ Delicate Balance Descas in 35 Mati Diop, Alex , courtesy Photofest Shots of Rum Beloved by both critics and fellow filmmakers Her interest in colonial legacies pulses through (Barry Jenkins, David Lowery, and Greta Gerwig many of her films, including her second feature, are self-proclaimed fans), French filmmaker a cockfighting drama set among Caribbean immi- Claire Denis has claimed her place as one of grants, No Fear, No Die (1990), screening with contemporary cinema’s most important artists, the short For Ushari Ahmed Mahmoud (1991); with an oeuvre of 12 features that are themat- her masterful, poetic update of Herman Melville’s ically diverse and aesthetically unmistakable. Billy Budd, Beau Travail (1999), starring Denis From March 29 through April 9, BAM will host Lavant and regular collaborator Grégoire Colin, the most comprehensive retrospective of her set among the existential ennui and empty rituals work ever presented in the US, followed by a run of the French Foreign Legion in Djibouti; and of her critically acclaimed new feature, the poetic White Material (2009), in which Isabelle Hup- science fiction film High Life (2018), starring pert, in an unnamed African country, stubbornly Robert Pattinson, Juliette Binoche, Mia Goth, refuses to abandon her coffee plantation as civil and Outkast’s Andre Benjamin. war erupts around her.

Denis’ work is a delicate balance of contra- Denis works in a variety of genres, though her dictions: her films are beloved, yet elusive; approach to them is so elastic and varied that influential, yet singular; grounded in corporeality, genre labels feel insufficient. Let the Sunshine but with a shifting relationship with temporality. In (2017), starring Juliette Binoche, could be Born in France, raised in colonial Africa where labelled a romantic comedy in a pinch, though it her father was a civil servant, and eventually deftly vacillates between modes of high romance, returning to France as a teenager, much of Denis’ ironic detachment, anti-bourgeois satire, and work subtly explores race and colonial relation- melancholic drama in a way that separates it ships, as in her feature debut Chocolat (1988), a from a traditional rom-com. The controversial semi-autobiographical work about a white French cannibal film Trouble Every Day (2001), starring woman’s complex relationship with a Cameroo- Vincent Gallo and Beatrice Dalle, showcases nian man, her family’s household servant. gore as shocking as any mainstream body horror, but is elevated by dreamy, elliptical rhythms

cont. @BAM_Brooklyn Claire Denis and a heart of pained erotic longing. The noir bration of female filmmakers in April. In fact, Bastards (2013) achieves a level of bleakness all of the films showcased in April’s repertory that would put most Hollywood noir to shame, programming are directed by women. Following and The Intruder (2004), starring Michel Subor, the Denis series, BAM will explore the work of pi- defies genre altogether—the ultimate expression oneering Czech filmmaker ĕV ra Chytilová; screen of Denis’ elliptical filmmaking. Kenyan director Wanuri Kahiu’s courageous, groundbreaking queer love story Rafiki (2018); Ultimately, Denis’ primary interest is human and present a new restoration of trailblazing interaction, both emotional and physical. She ex- American independent director Nina Menkes’ plores the bonds between fathers and children in subversive feminist drama Queen of Diamonds. the delicately observed 35 Shots of Rum (2008), This month reflects the BAM film program’s on- a riff on Ozu’s Late Spring starring Denis regular going mission to expand the traditionally straight, Alex Descas and actress-filmmaker Mati Diop; white, male-centric cinematic canon. families bound by blood and disrupted by vio- lence in I Can’t Sleep (1994) and Nenette and As associate vice president of cinema Gina Boni (1996); and pure romance and eroticism Duncan said to IndieWire, her goal is “to have in the sensually rendered Friday Night (2002), a nimble, responsive, socially engaged film starring Valérie Lemercier and Vincent Lindon. program.” As women filmmakers worldwide continue to push for parity in job opportunities The series will also include lesser-known works, and distribution, BAM’s April programming—cel- including a TV documentary chronicling the life ebrating influential masters, unjustly overlooked of the great French filmmaker in Jacques Rivette pioneers, and the new generation of female film - Le veilleur (1990); the semi-autobiographical artists—makes good on that goal. television film U.S. Go Home (1994), screening with the short Keep It for Yourself (1991); a Information at BAM.org/Film program of rare shorts; and more. Shelley Farmer is film publicity manager at BAM. The Denis retrospective is not the only cele- © 2019 Brooklyn Academy of Music, Inc. All rights reserved. Nenette and Boni , courtesy Photofest Alice Houri in BAM Supporters & Patrons

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Season Sponsor: Official Airline of BAM: BAM 2019 Season supporters: Rose M. Badgeley Residuary Charitable Trust; brigittenyc; Citi Foundation; Con Edison; The Gladys Krieble Delmas Foundation; The Dutch Performing Arts Fund NL; Official Healthcare Provider of BAM: Epstein Teicher Philanthropies; Estate Leadership support for every season Of Howard Pitsch; The Fan Fox & Leslie provided by the BAM Board of Trustees, R. Samuels Foundation, Inc.; Forest City led by Adam E. Max, Chair & William New York; The Francena T. Harrison I. Campbell, Vice Chair, and Nora Ann Foundation Trust; The Rita and Alex Wallace, Vice Chair. Hillman Foundation; The Andrew W. Mellon Foundation; MetLife Foundation; Leadership support for low-priced tickets Major Sponsor of BAM The Ambrose Monell Foundation; Henry provided by: Community Programs: and Lucy Moses Fund, Inc.; National Grid; Stavros Niarchos Foundation; The Barbro Osher Pro Suecia Foundation; The Reed Foundation; Lead Sponsor of Teknopolis: The Jerome Robbins Foundation, Inc.; Major Sponsor: The SHS Foundation; The Morris and Alma Schapiro Fund; The Scherman Foundation, Inc.; The Shubert Leadership support for dance at BAM Major support for Discounted Foundation, Inc.; The Harold and Mimi provided by: Ticket Initiatives provided by Steinberg Charitable Trust; Trust for the Jerome L. Greene Foundation Mutual Understanding; and Viacom

Support preserving the vitality of BAM programming provided by the Major support for Rameau, maître à Lichtenstein family and generous donors Leadership support for dance in the BAM danser provided by Anne H. Bass to the BAM Harvey Fund Harvey and BAM Fisher provided by: Support for the Winter/Spring Season and Support for adventurous programming the Signature Artist Series provided by: at BAM provided by generous donors to the BAM Joseph V. Melillo Fund for Artistic Innovation.

Onassis Programs at BAM supported by Support for dance at the BAM Leadership support for archival, cinema, Fisher provided by the Mertz community, and education programs Gilmore Foundation at BAM provided by The Thompson Family Foundation

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Diary of One Who Disappeared. Photo: Jan Versweyveld 2019 WINTER/SPRING BAMCAFÉ LIVE

Brooklyn Academy of Music Members Philippe Krakowsky Ex Officio John Lipsky Jonathan S. Auerbach Edgar A. Lampert Hon. Bill de Blasio Laurie Mallet Chair of the Board Tony Bechara Lorraine Lynch Hon. Corey Johnson Cathy-Ann Martine-Dolecki Adam E. Max Fran Bermanzohn Adam E. Max Hon. Eric L. Adams David L. Ramsay, M.D., M.Ed. Gordon Bowen Scott McDonald Hon. Tom Finkelpearl Hon. Franklin R. Weissberg Vice Chairs of the Board William I. Campbell James I. McLaren Emma Wolfe, Rep. for Hon. William I. Campbell Natalia Chefer Ahrin Mishan Bill de Blasio BAM Endowment Trust Nora Ann Wallace Linda Chinn David L. Picket Lori H. Luis, Rep. for Hon. Chair Katy Clark Frances A. Resheske Eric Adams Gabriel Pizzi President Dr. Rudolph F. Crew Jonathan F.P. Rose Chris Coffey, Rep. for Hon. Katy Clark Suzy Franczak Davis Anna Kuzmik Sampas Corey Johnson Treasurer Cheryl Della Rosa Timothy Sebunya Keith Stubblefield Artistic Director Dinyar S. Devitre Bartholomew A. Sheehan III Chairmen Emeriti David Binder Mark N. Diker Brian Stafford Neil D. Chrisman Members Yrthya Dinzey-Flores Axel Stawski Seth S. Faison * William A. Douglass III Secretary Andre Dua Doug Steiner Alan H. Fishman Steven G. Felsher Mark H. Jackson Thérèse M. Esperdy Joseph A. Stern Bruce C. Ratner Alan H. Fishman Richard E. Feldman Alexa Davidson Suskin Elizabeth Holtzman Treasurer Steven G. Felsher Pedro J. Torres Honorary Trustees Marcel Przymusinski James I. McLaren Jeanne Donovan Fisher John L. Usdan Beth Rudin DeWoody Alberto Sanchez Barry M. Fox Brigitte Vosse Mallory Factor Timothy Sebunya Presidents Emeriti Roberta Garza Medina Nora Ann Wallace Robert L. Forbes R. Edward Spilka Karen Brooks Hopkins MaryAnne Gilmartin Adam Wolfensohn Charles J. Hamm Nora Ann Wallace Harvey Lichtenstein * Robert M. Greenberg Claire Wood Barbara B. Haws Adam E. Max, Ex Officio Anne Hubbard William Josephson James I. McLaren, Ex Officio Executive Producer Emeritus Mary Kantor *in memoriam Joseph V. Melillo

BAM Staff

Katy Clark, President Anita Goss, Volunteer Librarian Johanie Olivero, Project Supervisor Collie Dean, Supervising Attendant David Binder, Artistic Director Denis Azaro, Volunteer Earline Stephen, FOH Rep/Rentals Guard Coco Killingsworth, Vice President Asst., BAM Fisher Kenneth Aguillera, Michael Whyte, of Education & Community BAM ROSE CINEMAS Senior Attendant Guards Engagement Gina Duncan, Assoc. Vice PRODUCTION Juan Lebron, Lead Guard Bill Kramer, Vice President of President, Film Dylan Nachand, Production Manager Vinroy Anglin, Marlon Desouza, Development BAM FILM Collin Costa, Production Manager, Yasmin Diaz, Kevin Lemon, Teonia John Lanasa, Vice President of Ashley Clark, Senior Repertory & Fisher Building Smith, Andel Thomas, Kelly Marketing & Communications Specialty Film Programmer Paul Bartlett, Senior Production Wheaton, Attendant Guards Patrick J. Scully, Vice President & Jesse Trussell, Repertory & Specialty Supervisor General Manager Film Programmer Ryan Gastelum, Olivia O’Brien, THEATER MANAGEMENT Keith Stubblefield,Chief Financial Ryan Werner, Programmer at Large Brian Sciarra, Courtney Wrenn, Christine M. Gruder, Theater Manager Officer and iceV President of Natalie Erazo, Coordinator, Repertory Production Supervisors John L. Jones, Assoc. Theater Finance & Administration & Specialty Film Programs Tony Crawford, Palmer Johnston, Manager CINEMA OPERATIONS Laura Williams, Production Sonia Clayton, Jacqueline David, PRESIDENT’S OFFICE Efi Shahar, Cinema Exec. Manager Coordinators Leroy Houston, Theater Staff Michael Doyle, Manager Jesse Green, BAM Cinema Bianca Davies, Admin. Coordinator Supervisors Andrea Montesdeoca, Admin. Asst. Technical Manager Nadine Mahmoud, Production Intern Michael Katz, Projectionist EDUCATION AND COMMUNITY BOARD RELATIONS Adam Goldberg, Asst. Manager STAGE CREW ENGAGEMENT Alexandra Biss, Director of Board Sashawna Donaldson, Andreea Thomas Paulucci, Crew Chief Brandi Stephney, Admin. Asst. Relations Drogeanu, Anthony Shields Jr., Alison Dabdoub, Head of Sound & to VP of Education and Camille Lawrence, Board Relations Patrece Stewart, Head Floor Staff Video, HT Community Engagement Asst. Jeffrey Gabel, Print Trafficker Edward Donohue, Property Master, HT OPERATIONS HUMAN RESOURCES HUMANITIES Oscar Gruchalski, Head Carpenter, Shana Parker, Director of Operations Seth Azizollahoff, Assoc. Vice Molly Silberberg, Assoc. Director, OH Jennifer Leeson, Senior Operations President, HR Humanities John Manderbach, Head Electrician, Manager Samara Alexander, Assoc. Director, Lucy Petropoulos, Humanities Asst. OH Sommer McCoy, Operations Manager HR Nicholas Varacalli, Property Leo Paredes, Operations Coordinator Alexis Boehmler, Benefits Manager VISUAL ART Master, OH Sofia Franklin, Intern Cynthia Smith, Payroll Manager Alli Arnold, Visual Arts Development Marc Putz, Head of Sound & Courtney Best, Admin. Asst. & Sales Manager Video, OH COMMUNITY ENGAGEMENT Morgan King, Program Asst. James Kehoe, Head Carpenter, HT Schawannah Wright, Director of ARTISTIC PROGRAMMING Morgan Hayes, Intern Chris Wilenta, Head Electrician, HT Community Programs Stonie Darling, Assoc. Director, Wayne Brusseau, Fly Person, OH Dewonnie Frederick, Community Artistic Programming Dept. GENERAL MANAGEMENT Heather Gallagher, Asst. Affairs & Bazaar Manager Juan Pablo Siles, Manager of BUDGETS AND CONTRACTS Electrician, OH Patricia Fogah, Community Affairs Artistic Planning Liz Zieminski, Director, GM Sean Kelly, Asst., Sound & Video & Bazaar Asst. Michelle Lapadula, Admin. Asst. Budgets & Contracts Joseph Werner III, Asst. Carpenter, HT, Ashanti Lee, Community Programs Jimmy Walden, Budget & Contract Tom Holler, Richard Wurzbach, Intern PROGRAMS & CURATORIAL Manager Utility People Amy Cassello, Producer Samuel Denitz, GM Supervisor Ginger Blake, Wardrobe Supervisor EDUCATION AND FAMILY Danny Kapilian, Producer, R&B Sarah Kelly Konig, Admin. Asst. PROGRAMS Festival, MetroTech ARTIST SERVICES Steven McIntosh, Director of Steven Serafin,Special Consultant; EVENT & VENUE OPERATIONS Mary Reilly, Director of Artist Services Education & Family Programs Editor, BAM: The Complete Works Jaclyn Bouton, Director of Event & Stacey Dinner, Artist Services Manager Ava Kinsey, Assoc. Director of & BAM: The Next Wave Festival Venue Operations Britney Polites, Artist Services Education Alexander Orbovich, Assoc. Representative Mikal Lee, Verushka Wray, Program ARCHIVES General Manager Managers Sharon Lehner, Director of Archives Liana Agredo, Senior Project SECURITY Mecca Madyun, Education Louie Fleck, Archives Manager Manager Scott Shaw, Security Director Manager Evelyn Shunaman, Processing Cady Knoll, Operations & Rentals Bobby Arnold, Asst. Security Manager Sasha Metcalf, Program Analyst | Archivist Manager, BAM Fisher Shaunte Snipes, Admin. Coordinator Mellon/ACLS Public Fellow BAM Staff

Patreece Jackman, Intern Alisha Bhowmik, Nandi Piper, Ramzi Awn, Director of Patron Yossess Allen, Ludlow Chamberlain, Program Coordinator Digital Media Assts. Services Isaias Flores, Ron Rathan, Quincy Simmons, Education Barbara Cummings, Director of Akeon Thomas, Jerry Wright, Asst. | BOLD Fellow AUDIENCE DEVELOPMENT & Major Gifts and BAMtravel Custodians MARKETING Maayan Dauber, Director, Patron LEAD INSTRUCTORS Charlotte Levitt, Director of Audience Programs and Major Gifts FINANCE Jennifer Armas, Mtume Gant, Development & Marketing William Lynch, Director of Jennifer Anglade, Associate Vice Arts & Justice Raphaele de Boisblanc, Assoc. Leadership Giving & Special President, Finance Jenny Rocha, Dancing into the Director of Marketing Projects Kozue Oshiro, Controller Future Sam Polcer, Assoc. Director of Michael Kendrick, Senior Tameka White, Asst. Controller Lonnie Woods III, Brooklyn Interns Content Strategy Manager of Patron Services & Claudia Bailey, Adam Sachs, for Arts & Culture Instructor Sharlene Chiu, Senior Manager, Donor Relations Assoc. Directors of Finance Audience Development & Deema Salem, Senior Manager, Brian Gee, Accounting Manager TEACHING ARTISTS Insights Patron Programs Tyler Cleveland, Staff Accountant Raquel Almazan, Gideon Bautista, Allison Kadin, Senior Marketing Jessica Hindle, Patron Services Heli Soell, Budget Analyst Morris Beasley, Rebecca Bliss, Stacey Manager Manager Chaya Coppersmith, AP Bone Gleason, Mahogany Brown, Lori Zakalik, Senior Cinema Jesse Rose-Pulitzer, Major Gifts & Administrator Melissa Brown, Chia-Ti Chiu, Darian Marketing Manager Patron Programs Asst. Meaghan McLaughlin, Finance Dauchan, Harris Eisenstadt, Imani Vilina Phan, Marketing Manager Kayte Zhang, Patron Services Asst. Coordinator Faye, Okai Fleurimont, Kimani Fowlin, Andrew Rubenbauer, Marketing Meredith Kelly, Patron Services Paige Haroldson, Finance Asst. Samara Gaev, Ingrid Gordon, Pat Hall, Manager, Development Intern Chelsea Harrison, Mel House, Albert Akornefa Akyea, Content INFORMATION TECHNOLOGY Iturregui-Elias, Devin Kawaoka, Abigail Marketing Coordinator MEMBERSHIP & DEVELOPMENT William Allen Lee III, Assoc. Levine, Spencer Lott, GV Maldonado, Lindsay Brayton, Marketing & OPERATIONS Vice President of Information Farai Malianga, WT McRae, Anthony Publicity Asst. Claire Charlesworth, Director of Technology Merchant, Elia Monte Brown, Michael Taylor Peterson, Drew Wesley, Membership & Development Jason Q. Minnis, Assoc. Director, Mullen, Janet Onyenucheya, Pamela Marketing Interns Operations IT Development Patrick, Mike Ramsey, Gwenyth Reitz, J Olson, Assoc. Director, Ira Sibulkin, Assoc. Director, IT Efeya Sampson, Victor Sanchez, Jashua TICKET SERVICES Development Operations & Technical Services SaRa, Billy Schultz, Lauren Sharpe, G. Scott Kubovsak, Director of Analytics Svetlana Mikhalevskaya, Jen Shirley, Elizabeth Simmons, Ticket Services Bruce Smolanoff, Assoc. Director, Database Manager Marcus Smalls, Šara Stranovsky, Kevin McLoughlin, Head Treasurer Telefund Manager Matthew Taylor, Senior Web Taylor Steele, Karen Thornton-Daniels, Russell Grier, First Asst. Treasurer Elizabeth Sarkady, Assoc. Developer Jono Waldman, Sarah Wansley, Adia Victor Jouvert, Charlie Dolce, Kyle Director, Donor Recognition Gabriel Dekoladenu, Benjamin Whitaker, Todd Woodard Williams, Asst. Treasurers Travis Calvert, Senior Manager, James, Web Developers Royda C. Venture, Assoc. Director, Budget & Operations Jersy Rodriguez, Technical MARKETING & Ticket Services Cheryl Miller, Membership Support Manager COMMUNICATIONS Georgina Richardson, Customer Manager Tamar Audate, Technical Support Ece Ozaman, Admin. Asst. to VP of Care Manager Richard Serrano, Research Manager Tech Marketing & Communications Latasha McNeil, Asst. Manager Steven Knudsen, Development Susan Bishop, Admin. Coordinator Britt Aronovich, Marketing Ryan Mauldin, Ticket Services Operations Coordinator Kenneth Flores, Senior Desktop Revenue Manager Coordinator Emily Searles, Membership Asst. Analyst Frank Marsilio, Marketing Miranda Gauvin, Ticket Services Lucas Austin, Rafael Iglesias, Operations Manager Senior Representative SPECIAL EVENTS Desktop Analysts Saul Almiachev, Wendy Berot, James Vause, Director of Special INSTITUTIONAL ADVOCACY COMMUNICATIONS Anaïs Blin, Shadell Brown, Lucca Events Ellen Leszynski, Senior Manager Sandy Sawotka, Director of Damilano, Justin Dash, Robert Grace Eubank, Special Events Katerina Patouri, Manager, Communications Ebanks, Greg Garner, Matthew Manager Institutional Advocacy & Sarah Garvey, Assoc. Director McKenna, Warren Ng, Edward Hector Rios, Special Events Capital Projects of Publicity Raube-Wilson, Angela Romualdez, Coordinator Susan Yung, Senior Editorial Allyson Steele, Noel Vega, Ticket Manager Services Representatives FINANCE & ADMINISTRATION Bookseller | Greenlight Bookstore David Hsieh, Cynthia Tate CAPITAL PROJECTS European Production Representative Publicity Managers DEVELOPMENT Jonathan Jones, Director, Capital On Tour Ltd., Roger Chapman Shelley Farmer, Publicity Olivia Jacobs, Admin. Asst. to Projects Film Buyer | Adam Birnbaum Manager, Film the VP of Development Daniel Costa, Capital Projects James Sutton, Publications Asst. Manager Immigration Counsel Andreas Yung Chih Huang, Intern CORPORATE RELATIONS & Jonathan Ginsburg, Fettman, SPONSORSHIP FACILITIES MANAGEMENT Tolchin and Majors, PC CREATIVE SERVICES Chantal Bernard, Director of James Boese, Director of Facilities Andi Floyd, Blue Skies Andrew Sloat, Creative Director Corporate Relations & Lynn Alexander, Facilities Manager Immigrations Services, LLC Patrick Morin, Assoc. Director Sponsorship Danny Jiang, Engineering Project Insurance Broker | Dewitt Stern of Design Rebecca Carew, Associate Director Manager Medical Consultant | Ahmar Butt, MD Joseph Kaplan, Kimberly Lum, of Corporate Partnerships & Markee Glover, Logistical Services Alison Whitworth, Designers Sponsorships Coordinator General Counsel | Mark Jackson Ben Katz, Video Producer Mari Ogino, Corporate Relations & Ronald Jones, Admin. Coordinator Restaurateur | Great Performances Kaitlyn Chandler, Video Editor & Sponsorship Manager Joshua Allen, Ahmad Ghany, Raul Motion Designer Clara Hung, Sponsorship. Asst. Gotay, Anthony Sam, Building Feb 1, 2018 Joseph Barglowski, Video Editor Services Assocs. Dorothea Trufelman, Asst. Video INSTITUTIONAL GIVING Editor Clemente Luna, Director of BUILDING MAINTENANCE Jenny Choi, Publications Manager Institutional Giving Anthony Shields, Maintenance Charity Coleman, Copywriter Kailin Husayko, Assoc. Director Supervisor Kati Rehbeck, Creative Services of Institutional Giving Steve McDowell, Lead Project Coordinator Stephanie Caragliano, Institutional Maintenance Technician Annie Heath, Creative Services Asst. Giving Manager Allan Boyce, Calvin Brackett, Sara Mon, Intern Emma Kilroy, Institutional Ronald Hunter, Maintainers Giving Asst. Carl Blango, Asst. Maintainer DIGITAL MEDIA Emma Gold, Intern Aaron Weibel, Director of Digital CUSTODIAL SERVICES Production MAJOR GIFTS & PATRON Ramon Cabassa, Custodial Alison Kozol, Manager of Digital PROGRAMS Supervisor Operations Stacy Margolis, Assoc. VP of Derrek Demary, Jean Smith, Lead Major Gifts & Patron Programs Custodians A cropped photographA cropped of Merce photographA croppedCunningham’s of Merce photograph Cunningham’s How Toof How MercePass, To Pass, Kick, Cunningham’s Kick, Fall Fall and Run Run How To Pass, Kick, Fall and Run omitting John Cage omittingsitting John stage Cageomitting left. sitting Merce Johnstage left.CunninghamCage Merce sitting Cunningham stageDance Dance left. Company Company Merce 1970 Cunningham1970 Dance Company 1970 Photo: JamesPhoto: Klosty, James courtesy Klosty, courtesy Photo:BAM BAM Hamm James Hamm Archives Klosty, courtesy BAM Hamm Archives A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives

A cropped photograph of Merce Cunningham’s How To Pass, Kick, Fall and Run omitting John Cage sitting stage left. Merce Cunningham Dance Company 1970 Photo: James Klosty, courtesy BAM Hamm Archives